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14 Patterns of Biophilic Design Terrapin 2014e PDF
14 Patterns of Biophilic Design Terrapin 2014e PDF
biophilic design
Improving Health & Well-Being in the Built Environment
“…the enjoyment of
scenery employs the
mind without fatigue
and yet exercises it,
tranquilizes it and yet
enlivens it;
Co-Authors
Review Committee
Contributors
Reference: Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic
Design. New York: Terrapin Bright Green, LLC.
abstract
Biophilic design can reduce stress, enhance creativity and clarity of thought, Table of contents
improve our well-being and expedite healing; as the world population continues to
urbanize, these qualities are ever more important. Theorists, research scientists, Introduction 4
and design practitioners have been working for decades to define aspects of
nature that most impact our satisfaction with the built environment. “14 Patterns Biophilia in context 6
of Biophilic Design” articulates the relationships between nature, human biology
and the design of the built environment so that we may experience the human Design considerations 13
benefits of biophilia in our design applications.
Biophilia in Context looks at the evolution of biophilic design in architecture The Patterns 21
and planning and presents a framework for relating the human biological science
and nature. Design Considerations explores a sampling of factors (e.g., scale, Nature in the space 24
climate, user demographics) that may influence biophilic design decisions to
bring greater clarity to why some interventions are replicable and why others natural analogues 38
may not be. The Patterns lays out a series of tools for understanding design
opportunities, including the roots of the science behind each pattern, then nature of the space 44
metrics, strategies and considerations for how to use each pattern. This paper
moves from research on biophilic responses to design application as a way to final thoughts 52
effectively enhance health and well-being for individuals and society.
Appendix 53
endnotes 53
References 55
with nature
Biophilic design can reduce stress, improve cognitive function and creativity,
improve our well-being and expedite healing; as the world population continues
to urbanize, these qualities are ever more important. Given how quickly an
one receives experience of nature can elicit a restorative response, and the fact that U.S.
businesses squander billions of dollars each year on lost productivity due to
far more than stress-related illnesses, design that reconnects us with nature – biophilic design
– is essential for providing people opportunities to live and work in healthy places
one seeks.” and spaces with less stress and greater overall health and well-being.
Building upon “The Economics of Biophilia” (Terrapin Bright Green, 2012), the
intent of this paper is to articulate the relationships between nature, science, and
the built environment so that we may experience the human benefits of biophilia
in our design applications. The paper presents a framework for biophilic design
that is reflective of the nature-health relationships most important in the built
environment – those that are known to enhance our lives through a connection
with nature.
This paper puts biophilic design in context with architectural history, health sciences
and current architectural practices, and briefly touches on key implementation
considerations, then presents biophilic design patterns. The patterns have been
developed through extensive interdisciplinary research and are supported by
empirical evidence and the work of Christopher Alexander, Judith Heerwagen,
Rachel and Stephen Kaplan, Stephen Kellert, Roger Ulrich, and many others. Over
500 publications on biophilic responses have been mined to uncover patterns
useful to designers of the built environment. These 14 patterns have a wide range
of applications for both interior and exterior environments, and are meant to be
flexible and adaptive, allowing for project-appropriate implementation.
5. Presence of Water
11. Prospect
12. Refuge
13. Mystery
14. Risk/Peril
Image courtesy of COOKFOX Architects.
Finally, this paper discusses these patterns in a general sense for the purpose of
addressing universal issues of human health and well-being (e.g., stress, visual
acuity, hormone balance, creativity) within the built environment, rather than
program-based or sector-specific space types (e.g., health care facility waiting
rooms, elementary school classrooms, or storefront pedestrian promenades).
As such, the focus is on patterns in nature known, suggested or theorized to
mitigate common stressors or enhance desirable qualities that can be applied
across various sectors and scales.
We hope this paper presents the foundation necessary for thinking more critically
about the human connection with nature and how biophilic design patterns can be
used as a tool for improving health and well-being in the built environment.
wrote the Roman Nature themes can be found in the earliest human structures: Stylized animals
characteristic of the Neolithic Göbekli Tepe; the Egyptian sphinx, or the acanthus
poet Horace. leaves adorning Greek temples and their Vitruvian origin story; from the primitive
hut to the delicate, leafy filigrees of Rococo design. Representations of animals
and plants have long been used for decorative and symbolic ornamentation.
“A piece of Beyond representation, cultures around the world have long brought nature into
homes and public spaces. Classic examples include the garden courtyards of the
land – not so Alhambra in Spain, porcelain fish bowls in ancient China, the aviary in Teotihuacan
(ancient Mexico City), bonsai in Japanese homes, papyrus ponds in the homes of
very big, with Egyptian nobles, the cottage garden in medieval Germany, or the elusive hanging
gardens of Babylon.
a garden and, The consistency of natural themes in historic structures and places suggests that
never fails, and Prior to and even after the Industrial Revolution, the vast majority of humans lived
an agrarian existence, living much of their lives among nature. American landscape
a bit of wood to architect Frederick Law Olmsted argued in 1865, that “…the enjoyment of
scenery employs the mind without fatigue and yet exercises it, tranquilizes it and
round it off.’’ yet enlivens it; and thus, through the influence of the mind over the body, gives the
effect of refreshing rest and reinvigoration to the whole system” (Olmsted, 1865).
As urban populations grew in the 19th Century, reformers became increasingly
concerned with health and sanitation issues such as fire hazards and dysentery.
Those words were set down
The creation of large public parks became a campaign to improve the health and
more than 2000 years reduce the stress of urban living.
ago, around 30 B.C. It is
Artists and designers of the Victorian era, such as influential English painter and
easy to understand the art critic, John Ruskin, pushed back against what they saw as the dehumanizing
emotion prompting them; experience of industrial cities. They argued for objects and buildings that reflected
we still recognize what the hand of the craftsman and drew from nature for inspiration. In the design
of the Science Museum at Oxford, Ruskin is said to have told the masons to
Horace meant by a rural use the surrounding countryside for inspiration, and the results can be seen in
garden, a place to take the inclusion of hand-carved flowers and plants adorning the museum (Kellert &
refuge, as he did, from Finnegan, 2011).
the irritations of city life. Western attitudes toward nature were shifting in the mid-19th Century; natural
landscapes became valid art subjects, as seen in the Hudson River School and
the Barbizon School in France. Going to the mountains or seashore for recreation
Then And Now: Reflections On was becoming a growing trend; Winter gardens and conservatories become
The Millennium; The Allure of requisites of wealthy homes in Europe and the United States. Henry David
Place in a Mobile World Thoreau built a cabin by Walden Pond in Concord, Massachusetts from which he
wrote treatises on a simpler life, connected to nature, which still resonate in the
December 15, 1999 American consciousness. In hospital design, sunlight and a view to nature was
New York Times Editorial believed to be important, as can be seen at St. Elizabeth’s in Washington, D.C.
(anonymous) Designed in the 1850s to the concepts of Dr. Thomas Kirkbride, who “…believed
that the beautiful setting…restored patients to a more natural balance of the
senses” (Sternberg, 2009).
Wright abstracted prairie flowers and plants for his art glass windows and
ornamentation. Like many in the Craftsman movement, Wright used the grain
of wood and texture of brick and stone as a decorative element. Wright also
opened up interiors to flow through houses in ways that had not been done
before, creating prospect views balanced with intimate refuges. His later designs
sometimes include exhilarating spaces, like the balcony cantilevering out over the Animal stone carvings at the ancient
waterfall at Fallingwater. Göbekli Tepe. Image © Teomancimit.
European Modernists stripped much ornamentation from their buildings, but,
like Wright, used wood grain and the veining of stone as decorative elements
and were equally concerned with exploring the relationship of interior to exterior.
Ludwig Mies van der Rohe’s Barcelona Pavilion (built 1929) pushed that concept
in the play of volumes and glass. Later, his Farnsworth House (built 1951) defined
interior and exterior much more literally, by segregating the elements from the
visual connection to nature.
Le Corbusier’s Cité Radiant (unbuilt 1924) may have resulted in disastrous urban
designs, but by putting towers in a park surrounded by grass and trees, he was
trying to provide city dwellers with a connection to nature. As the International
Style took root, it spread glass buildings everywhere; unfortunately, the buildings,
and particularly the interiors of commercial buildings, increasingly disconnected
people from nature.
Victor Horta’s art nouveau plant tendril
The term ‘biophilia’ was first coined by social psychologist Eric Fromm (The Heart designs in Hotel Tassel, Belgium. Image ©
of Man, 1964) and later popularized by biologist Edward Wilson (Biophilia, 1984). Eloise Moorhead.
The sundry denotations – which have evolved from within the fields of biology
and psychology, and been adapted to the fields of neuroscience, endocrinology,
architecture and beyond – all relate back to the desire for a (re)connection with
nature and natural systems. That we should be genetically predisposed to prefer
certain types of nature and natural scenery, specifically the savanna, was posited
by Gordon Orians and Judith Heerwagen (Savanna Hypothesis, 1986), and could
theoretically be a contributing motivation for moving to the suburbs, with the
suburban lawn being a savanna for everyone.
With the emergence of the green building movement in the early 1990s, linkages The play of volumes and glass in Mies Van
were made between improved environmental quality and worker productivity Der Rohe’s Farnsworth House. Image ©
(Browning & Romm, 1994). While the financial gains due to productivity Devyn Caldwell/Flickr.
improvements were considered significant, productivity was identified as a
placeholder for health and well-being, which have even broader impact. The
healing power of a connection with nature was established by Roger Ulrich’s
landmark study comparing recovery rates of patients with and without a view
to nature (Ulrich, 1984). An experiment at a new Herman Miller manufacturing
facility, designed by William McDonough + Partners in the 1990s, was one of the
first to specifically frame the mechanism for gains in productivity to connecting
building occupants to nature – phylogenetic or, more familiarly, biophilic design
(Heerwagen & Hase, 2001).
The last decade has seen a steady growth in work around and the intersections
of neuroscience and architecture, both in research and in practice; even green
building standards have begun to incorporate biophilia, predominantly for its
contribution to indoor environmental quality and connection to place. Popular
texts, such as Last Child in the Woods (Louv, 2008), Healing Spaces (Sternberg,
2009), The Shape of Green (Hosey, 2012), Your Brain on Nature (Selhub &
Logan, 2012), and “The Economics of Biophilia” (Terrapin Bright Green, 2012),
are bringing the conversation mainstream, helping the public grapple with modern
society’s dependency on technology and persistent disconnect with nature. Most
recently, biophilic design is being championed as a complementary strategy for
A Louis Comfort Tiffany Lamp with flower addressing workplace stress, student performance, patient recovery, community
pattern design. Image © Eric Hunt/Flickr. cohesiveness and other familiar challenges to health and overall well-being.
Defining Nature
Views of what constitutes natural, nature, wild, or beautiful greatly vary. While we
have no intention of formalizing an explicit definition, some articulation of what we
mean by ‘nature’ will help give context to practitioners of biophilic design. Simply
put, there are two extreme connotations of nature. One is that nature is only
that which can be classified as a living organism unaffected by anthropogenic
impacts on the environment – a narrow perspective of nature (reminiscent of
conventional hands-off environmental preservation) that ultimately no longer exists
because nearly everything on Earth has been and will continue to be impacted at
least indirectly by humans. Additionally, this idea of nature essentially excludes
everything from the sun and moon, your pet fish Nemo, home gardens and urban
parks, to humans and the billions of living organisms that make up the biome of
the human gut.
Alternatively, it could be argued that everything, including all that humans design
and make, is natural and a part of nature because they are each extensions of
our phenotype. This perspective inevitably includes everything from paperback
books and plastic chairs, to chlorinated swimming pools and asphalt roadways.
For added clarity, we are making the distinction that, in the context of health and
well-being in the built environment, most nature in modern society is designed,
whether deliberately (for function or aesthetic), haphazardly (for navigability or
access to resources) or passively (through neglect or hands-off preservation);
thus, we refer back to humankind’s proclivity for savanna landscapes. Humans
create savanna analogues all the time. As designed ecosystems, some, such
as the high canopy forests with floral undergrowth maintained by the annual
burning practices of the Ojibwe people of North America, are biodiverse, vibrant
and ecologically healthy. Others, such as suburban lawns and golf courses,
The key issue is that some designed environments are well-adapted (supporting
long term life) and some are not. So while golf courses and suburban lawns may
be a savanna analogue, in many cases they require intense inputs of water and
fertilizer and thus are unfortunately unsustainable design practices.
Nature-Design Relationships
Nature in the Space addresses the direct, physical and ephemeral presence of
nature in a space or place. This includes plant life, water and animals, as well
as breezes, sounds, scents and other natural elements. Common examples
include potted plants, flowerbeds, bird feeders, butterfly gardens, water features,
fountains, aquariums, courtyard gardens and green walls or vegetated roofs. The
strongest Nature in the Space experiences are achieved through the creation of
meaningful, direct connections with these natural elements, particularly through
diversity, movement and multi-sensory interactions.
10. Complexity & Order. Rich sensory information that adheres to a spatial
hierarchy similar to those encountered in nature.
Nature of the Space addresses spatial configurations in nature. This includes our
innate and learned desire to be able to see beyond our immediate surroundings,
our fascination with the slightly dangerous or unknown; obscured views and
revelatory moments; and sometimes even phobia-inducing properties when
they include a trusted element of safety. The strongest Nature of the Space
experiences are achieved through the creation of deliberate and engaging spatial
configurations commingled with patterns of Nature in the Space and Natural
Analogues.
Strong or routine connections with nature can provide opportunities for mental
restoration, during which time our higher cognitive functions can sometimes take
a break. As a result, our capacity for performing focused tasks is greater than
someone with fatigued cognitive resources.
The physiological system needs to be tested regularly, but only enough for the
body to remain resilient and adaptive. Physiological responses to environmental
stressors can be buffered through design, allowing for the restoration of bodily
resources before system damage occurs (Steg, 2007).
Visual * Lowered blood pressure and heart rate Improved mental engagement/ Positively impacted attitude
Connection * (Brown, Barton & Gladwell, 2013; van den Berg, attentiveness and overall happiness
with Nature * Hartig, & Staats, 2007; Tsunetsugu & Miyazaki, 2005) (Biederman & Vessel, 2006) (Barton & Pretty, 2010)
Biomorphic
Observed view preference
Forms & *
Natural Analogues
perspectives – health conditions, socio-cultural norms and expectations, past Rather, the
is locally appropriate and responsive. Good biophilic design draws from influential
experiences, frequency and duration of the user experience, the many speeds
at which it may be encountered, and user perception and processing of the ‘correct’
experience – to create spaces that are inspirational, restorative, and healthy, as
well as integrative with the functionality of the place and the (urban) ecosystem to solution, in our
which it is applied. Above all, biophilic design must nurture a love of place.
view, is one
Planning for Implementation
Increasingly dense urban environments, coupled with rising land values, elevate
that is locally
the importance of biophilic design across a spatial continuum from new and appropriate and
existing buildings, to parks and streetscapes and to campus, urban and regional
planning. Each context supports a platform for myriad opportunities for integrative
biophilic design, and mainstreaming healthy building practices for people and
responsive to
society. Discussed here in brief are some key perspectives that may help focus
the planning and design processes. the situation
Identifying desired responses and outcomes
at hand.’’
It is vital for a designer to understand a project’s design intent – what are
the health or performance priorities of the intended users? To identify design Rachel Kaplan, Stephen Kaplan
strategies and interventions that restore or enhance well-being, project teams
& Robert L. Ryan, 1998
should understand the health baseline or performance needs of the target
population. One approach is to ask: what is the most biophilic space we With People in Mind
can conceivably design? Another is to ask: how can biophilic design improve
performance metrics already used by the client (e.g., company executives,
school board, city officials), such as absenteeism, perceived comfort, health
care claims, asthma, ticket sales, or test scores.
Biophilic design patterns are flexible and replicable strategies for enhancing
the user experience that can be implemented under a range of circumstances.
Just as lighting design for a classroom will be different than for a spa or home
library, biophilic design interventions are based on the needs of a specific
population in a particular space, and are likely to be developed from a series
of evidence-based biophilic design patterns, ideally with a degree of monitoring
and evaluation for efficacy.
A project team charged with reducing stress among emergency room nurses
at the local hospital may intervene by replacing the abstract art with landscape
paintings on the walls of the staffroom and installing a small garden and seating
area in the adjacent interior courtyard. While this project also uses the Visual
Connection with Nature pattern, the selected interventions specifically target
stress reduction for emergency room nurses based on a shared space they
utilize routinely.
When planning for implementation, common questions recur, such as how much
is enough and what makes a good design great. A high quality intervention may be
defined by the richness of content, user accessibility and, as mentioned above,
diversity of strategies. A single high quality intervention can be more effective and
have greater restorative potential than several low quality interventions. Climate,
cost and other variables may influence or limit feasibility of certain interventions,
but should not be considered an obstacle to achieving a high quality application.
For example, multiple instances of Prospect with a shallow to moderate depth of
field and limited information in the viewshed may not be as effective (at prompting
the desired response) as a single powerful instance of Prospect with a moderate
to high depth of field and an information-rich viewshed.
No two places are the same; this presents both challenges and opportunities for
creativity in the application of biophilic design patterns. Discussed here are some
key considerations that may help frame, prioritize, or influence decision making
in the design process.
Historically, humans have built shelters from locally available materials that
reflected the regional ecology; form and function were in response to the
topography and climate. Known as vernacular architecture, these buildings and
constructed landscapes connect to where they inhabit. Use of local timber,
climate responsive design and xeriscaping – using native, drought tolerant
plants to create landscape designs that resemble the climate of the surrounding
landscape – can each be effective strategies in designing for a resilient, biophilic
experience.
Whether rural or urban, not all natural or tempered environments are ‘green’ in
color, nor should they be. Desert species and terrain can be equally important
in reinforcing a biophilic connection to place. Some habitats may engender a
stronger positive response than others, but a small biodiverse savanna-like scene
will most likely be preferred over an area abundant yet trackless sand desert, the
open ocean, or a dark forest.
The speed at which one moves through an environment, whether rural or urban,
impacts the level of observable detail and the perceived scale of buildings and
spaces. The General Motors “Tech Center” in Warren, Michigan, designed by
architect Eero Saarinen in 1949, is designed to be experienced at 30 mph,
so for the pedestrian, the scale seems oversized and the spacing of buildings
is oddly far apart. This is why stores on along strip malls have large, simple
façades and signage, whereas stores within pedestrian zones tends to have
smaller and perhaps more intricate signage. Similarly, the landscaping along
freeway and highway greenbelts is typically done in large swaths for instant
interpretability. In contrast, a pedestrian focused environment will have more
fine-grained details in the landscape design to allow for pause, exploration, and
a more intimate experience.
Some patterns, such as [P13] Mystery and [P14] Risk/Peril, might not be as
feasible or cost-effective in an interior fit-out project because of the amount of
space required to effectively implement the pattern. On the other hand, interior
fit-outs are an excellent opportunity to introduce Natural Analogue patterns which
can be applied to surfaces like walls, floors, and ceilings as well as furniture and
window treatments. In addition, not all aspects of biophilia are space dependent.
Some patterns (e.g., P2, P4, P6, P7) are more visceral or temporal, requiring
little to no floor area, and other patterns (e.g., P8-P10) may simply guide design
choices that were already a part of the design process.
Design Integration
Environmental quality is an umbrella term that refers to the sum of the properties
and characteristics of a specific environment and how it affects human beings
and other organisms within its zone of influence.
Biophilia, like air quality, thermal comfort and acoustics, is an essential component of
environmental quality that expands the conversation from daylight, materials toxicity,
and air, water and soil quality, to include human biological health and well-being.
Multi-platform solutions
Behavior change is not often in the purview of the architect, so designing for
controllability versus automation or permanency may inform the intervention
design process. Maintenance of implemented strategies is also a consideration
– will there be someone responsible for cleaning the fish tank and watering the
plants? Having trainings and discussions with facility operators and a reference
guide indicating appropriate maintenance requirements and parameters will help
uphold the intended biophilic experience set forth in the design strategy.
As no two interventions will be exactly the same, all results will differ to one degree
or another. Culture, climate, age, gender, landscape character, immigrant status,
mental health, and genetic predispositions, for example, create a challenging
labyrinth of data for comparison. Nevertheless, tracking and monitoring of human
biological responses and outcomes triggered by a biophilic pattern is vital in the
progress and further development of biophilic design as a best practice.
analyzed individually” to reveal emotional affiliations Wilson spoke of, as well as of learning
patterns in this paper have, in the words of Wilson, been “teased apart and
to articulate connections between aspects of the built and natural environments peacefulness
as another tool in the designer’s toolkit. The purpose of defining these patterns is
Finally, each pattern has been assessed for overall potential impact and the
strength of the research on which a pattern is built. Unless otherwise noted, all
examples reported are based on data published in a peer-reviewed journal. We
acknowledge that some studies are more rigorous than others and that some
patterns have a greater body of research to support findings of significance. To
help communicate this variability, up to three asterisks are following each pattern
name, whereby three asterisks (***) indicates that the quantity and quality of
available peer-reviewed evidence is robust and the potential for impact is great,
and no asterisk indicates that there is minimal research to support the biological
relationship between health and design, but the anecdotal information is adequate
for hypothesizing its potential impact and importance as a unique pattern.
1. Visual Connection with Nature 8. Biomorphic Forms & Patterns 11. Prospect
A view to elements of nature, living Symbolic references to contoured, An unimpeded view over a distance
systems and natural processes. patterned, textured or numerical for surveillance and planning.
arrangements that persist in nature.
2. Non-Visual Connection with Nature 12. Refuge
Auditory, haptic, olfactory, or gustatory 9. Material Connection with Nature A place for withdrawal, from
stimuli that engender a deliberate Material and elements from nature environmental conditions or
and positive reference to nature, that, through minimal processing, the main flow of activity, in
living systems or natural processes. reflect the local ecology or geology which the individual is protected
to create a distinct sense of place. from behind and overhead.
3. Non-Rhythmic Sensory Stimuli
Stochastic and ephemeral 10. Complexity & Order 13. Mystery
connections with nature that may Rich sensory information that The promise of more information
be analyzed statistically but may adheres to a spatial hierarchy similar achieved through partially obscured
not be predicted precisely. to those encountered in nature. views or other sensory devices
that entice the individual to travel
deeper into the environment.
4. Thermal & Airflow Variability
Subtle changes in air temperature,
relative humidity, airflow across 14. Risk/Peril
the skin, and surface temperatures An identifiable threat coupled
that mimic natural environments. with a reliable safeguard.
5. Presence of Water
A condition that enhances the
experience of a place through the
seeing, hearing or touching of water.
A space with a good Visual Connection with Nature feels whole, it grabs one’s
VISUAL attention and can be stimulating or calming. It can convey a sense of time,
weather and other living things.
CONNECTION
Roots of the Pattern
WITH NATURE
The Visual Connection with Nature pattern has evolved from research on visual
*** preference and responses to views to nature showing reduced stress, more
positive emotional functioning, and improved concentration and recovery rates.
A Visual Connection with Stress recovery from visual connections with nature have reportedly been realized
Nature is a view to elements through lowered blood pressure and heart rate; reduced attentional fatigue,
of nature, living systems and sadness, anger, and aggression; improved mental engagement/attentiveness,
attitude and overall happiness. There is also evidence for stress reduction related
natural processes. to both experiencing real nature and seeing images of nature. Visual access to
biodiversity is reportedly more beneficial to our psychological health than access
to land area (i.e., quantity of land).[P1]
Visual preference research indicates that the preferred view is looking down a
slope to a scene that includes copses of shade trees, flowering plants, calm
non-threatening animals, indications of human habitation, and bodies of clean
water (Orians & Heerwagen, 1992). This is often difficult to achieve in the built
environment, particularly in already dense urban settings, though the psychological
benefits of nature are suggested to increase with higher levels of biodiversity
and not with an increase in natural vegetative area (Fuller et al., 2007). Positive
impact on mood and self-esteem has also been shown to occur most significantly
in the first five minutes of experiencing nature, such as through exercise within
a green space (Barton & Pretty, 2010). Viewing nature for ten minutes prior
to experiencing a mental stressor has shown to stimulate heart rate variability
and parasympathetic activity (i.e., regulation of internal organs and glands that
support digestion and other activities that occur when the body is at rest) (Brown,
Barton & Gladwell, 2013), while viewing a forest scene for 20 minutes after a
mental stressor has shown to return cerebral blood flow and brain activity to a
Relation to other Patterns relaxed state (Tsunetsugu & Miyazaki, 2005).
Visual Connection with Nature is often Viewing scenes of nature stimulates a larger portion of the visual cortex than non-
paired with a number of other patterns.
nature scenes, which triggers more pleasure receptors in our brain, leading to
Common overlaps with the most prolonged interest and faster stress recovery. For example, heart rate recovery
significant potential impact: from low-level stress, such as from working in an office environment, has shown
[P2] Non-Visual Connection with Nature to occur 1.6 times faster when the space has a glass window with a nature view,
[P3] Non-Rhythmic Sensory Stimuli rather than a high-quality simulation (i.e., plasma video) of the same nature view,
[P5] Presence of Water or no view at all (Kahn et al., 2008). Additionally, repeated viewing of real nature,
[P8] Biomorphic Forms & Patterns unlike non-nature, does not significantly diminish the viewer’s level of interest over
[P11] Prospect
time (Biederman & Vessel, 2006).
A space with a good Non-Visual Connection with Nature feels fresh and well
NON-VISUAL balanced; the ambient conditions are perceived as complex and variable but at
the same time familiar and comfortable, whereby sounds, aromas, and textures
CONNECTION are reminiscent of being outdoors in nature.
** The Non-Visual Connection with Nature pattern has evolved from research on
reductions in systolic blood pressure and stress hormones; impact of sound and
Non-Visual Connection with vibration on cognitive performance; and perceived improvements in mental health
Nature is the auditory, haptic, and tranquility as a result of non-visual sensory interactions with non-threatening
olfactory, or gustatory stimuli nature.[P2] Each sensory system has a vast body of research to support it; here
we provide just a taste.
that engender a deliberate
and positive reference
Auditory. Research shows that exposure to nature sounds, when compared to
to nature, living systems urban or office noise, accelerates physiological and psychological restoration up
or natural processes. to 37% faster after a psychological stressor (Alvarsson et al., 2010) and reduces
cognitive fatigue and helps motivation (Jahncke et al., 2011). Participants of one
study who either listened to river sounds or saw a nature movie with river sounds
during a post-task restoration period reported having more energy and greater
motivation after the restoration period compared to participants who only listened
to office noise or silence (Jahncke et al., 2011). In addition, viewing the nature
movie with river sounds during the restoration period had a more positive effect
than only listening to river sounds alone.
Relation to other Patterns Ocean waves and vehicle traffic can have a very similar sound pattern. In an
experiment using a synthesized sound that replicated the waves and traffic sound
As experiences can be enhanced when
pattern, researchers observed that participants processed the synthesized sound
paired with more than one sense, the
application of a second pattern could
in different portions of the brain depending on whether they were also watching
help identify the stimuli or other qualities a video of either waves or vehicle traffic (Hunter et al., 2010). Participants
of the stimuli. considered the sound to be pleasurable when viewing the video of waves, but
not when viewing the video of traffic. This study suggests a strong connection
Common overlaps: between our visual and auditory sensory systems and psychological well-being.
[P1] Visual Connection with Nature
[P3] Non-Rhythmic Sensory Stimuli
[P4] Thermal & Airflow Variability Olfactory. Our olfactory system processes scent directly in the brain, which can
[P9] Material Connection with Nature trigger very powerful memories. Traditional practices have long used plant oils
[P5] Presence of Water to calm or energize people. Studies have also shown that olfactory exposure to
herbs and phytoncides (essential oils from trees) have a positive effect on the
and sometimes also:
[P13] Mystery
healing process and human immune function, respectively (Li et al., 2012; Kim
et al., 2007).
Simulated or Constructed
Working with the Pattern • Digital simulations of nature sounds
The objective of the Non-Visual Connection with Nature pattern is to provide an • Mechanically released
environment that uses sound, scent, touch and possibly even taste to engage the natural plant oils
individual in a manner that helps reduce stress and improve perceived physical • Highly textured fabrics/textiles that
and mental health. These senses can be experienced separately, although the mimic natural material textures
experience is intensified and the health effect is compounded if multiple senses • Audible and/or physically
are consistently engaged together. accessible water feature
• Music with fractal qualities
Design considerations for establishing a strong non-visual connection with nature:
• Horticulture/gardening, including
• Prioritize nature sounds over urban sounds. edible plants
• Design for non-visual connections that can be easily accessed • Domesticated animals/pets
from one or multiple locations, and in such a way that allows daily
• Honeybee apiary
engagement for 5 to 20 minutes at a time.
• Integrate non-visual connections with other aspects of the design
program.
• A single intervention that can be experienced in multiple ways can
enhance the impacts.
• Design for visual and non-visual connections to be experienced
simultaneously to maximize potential positive health responses.
• A non-rhythmic stimuli strategy can be interwoven with almost • Fragrant flowers, trees and herbs
any landscape or horticulture plan. For instance, selecting plant
Simulated or Constructed
species for window boxes that will attract bees, butterflies and
other pollinators may be a more practical application for some • Billowy fabric or screen
materials that move or glisten
projects than maintaining a honeybee apiary or butterfly sanctuary.
with light or breezes
• Humans perceive movement in the peripheral view much quicker • Reflections of water on a surface
than straight ahead. The brain also processes the movement of
living things in a different place than it does of mechanical objects • Shadows or dappled light that
change with movement or time
(Beauchamp et al., 2003), whereby natural movement is generally
perceived as positive, and mechanical movement as neutral or even • Nature sounds broadcasted
negative. As a result, the repeating rhythmic motion of a pendulum at unpredictable intervals
will only hold one’s attention briefly, the constant repetitive ticking • Mechanically released plant oils
of a clock may come to be ignored over time, and an ever-present
scent may lose its mystique with long-term exposure; whereas,
the stochastic movement of a butterfly will capture one’s attention
each time for recurring physiological benefits.
A space with good Thermal & Airflow Variability feels refreshing, active, alive,
THERMAL invigorating and comfortable. The space provides a feeling of both flexibility and
a sense of control.
& AIRFLOW
Roots of the Pattern
VARIABILITY
The Thermal & Airflow Variability pattern has evolved from research measuring
** the effects of natural ventilation, its resulting thermal variability, and worker
comfort, well-being and productivity; physiology and perception of temporal and
Thermal & Airflow Variability spatial pleasure (alliesthesia); the impact of nature in motion on concentration;
can be characterized as subtle and, generally speaking, a growing discontent with the conventional approach to
changes in air temperature, thermal design, which focuses on achieving a narrow target area of temperature,
humidity and air flow while minimizing variability.[P4a]
relative humidity, airflow
across the skin, and surface Research shows that people like moderate levels of sensory variability in the
environment, including variation in light, sound and temperature, and that an
temperatures that mimic environment devoid of sensory stimulation and variability can lead to boredom
natural environments. and passivity (e.g., Heerwagen, 2006).[P4b] Early studies in alliesthesia indicate
that pleasant thermal sensations are better perceived when one’s initial body
state is warm or cold, not neutral (e.g., Mower, 1976), which corroborates more
recent studies reporting that a temporary over-cooling of a small portion of the
body when hot, or over-heating when cold, even without impacting the body’s
core temperature, is perceived as highly comfortable (Arens et al., 2006).
Relation to other Patterns The objective of the Thermal & Airflow Variability pattern is to provide an
Common overlaps: environment that allows users to experience the sensory elements of airflow
[P6] Dynamic & Diffuse Light variability and thermal variability. The intent is also for the user to be able to
[P7] Connection with Natural Systems control thermal conditions, either by using individual controls, or allowing
occupants access to variable ambient conditions within a space.
and sometimes also:
[P3] Non-Visual Connection with Nature In contrast, conventional thermal design tries to achieve a narrow target area of
[P5] Presence of Water temperature, humidity and airflow, while minimizing variability – the goal being
[P13] Mystery to maintain conditions within the “ASHRAE comfort envelope”. When the entire
Design considerations:
• Incorporation of airflow and thermal conditions into materials,
daylighting, mechanical ventilation and/or fenestration will help
distribute variability over space and time.
• Thermal comfort is a vital bridging component between biophilic
design and sustainable design, especially in the face of climate
change and rising energy costs. When Thermal & Airflow Variability
is implemented in a way that broadens people’s perception of
thermal comfort, it may also help reduce energy demands for air
conditioning and heating.
• Designing in features that allow users to easily adapt and modify
their perceived thermal conditions of their environment will increase
the range of acceptable temperatures by two degrees Celsius
above and below the conventional parameters for thermal comfort
(Nicol & Humphreys, 2002).
• Coordination of design strategies among a project team (e.g.,
architect, lighting designer and MEP engineers) as early as the
schematic design process will be particularly important for
achieving design intent.
Singapore’s Khoo Teck Puat Hospital by RMJM Architects is an excellent example Above: The Khoo Teck Puat Hospital in
of Thermal & Airflow Variability. The passive design of the hospital draws fresh Singapore by RMJM Architects uses fresh
air in from the exterior courtyards; the cool air helps maintain thermal comfort, air and sunlight to increase thermal comfort.
while patients also have operable windows in their rooms, allowing for greater Image © Jui-Yong Sim/Flickr.
personal control. The façade and internal layouts are designed to enhance Left: Cloisters at San Juan de Los Reyes,
daylight and light/shade variability while reducing glare. Connecting, elevated Toledo, Spain. Image © Ben Leto/Flickr.
exterior walkways also provide access to breezes, shade and solar heat.
A space with a good Presence of Water condition feels compelling and captivating.
PRESENCE Fluidity, sound, lighting, proximity and accessibility each contribute to whether a
space is stimulating, calming, or both.
OF WATER
Roots of the Pattern
**
The Presence of Water pattern has evolved from research on visual preference
Presence of Water is a
for and positive emotional responses to environments containing water elements;
condition that enhances reduced stress, increased feelings of tranquility, and lower heart rate and blood
the experience of a place pressure from exposure to water features; improved concentration and memory
restoration induced by complex, naturally fluctuating visual stimuli; and enhanced
through the seeing, hearing
perception and psychological and physiological responsiveness when multiple
or touching of water. senses are stimulated simultaneously.[P5]
Visual preference research indicates that a preferred view contains bodies of clean
(i.e., unpolluted) water (Heerwagen & Orians, 1993). Research has also shown
that landscapes with water elicit a higher restorative response and generally have
a greater preference among populations in comparison to landscapes without
water. Supporting evidence has suggested that natural scenes without water and
urban scenes with water elements follow with primarily equal benefits (Jahncke et
al., 2011; Karmanov & Hamel, 2008; White, et al., 2010).
Research on response to activities conducted in green spaces has shown that the
presence of water prompts greater improvements in both self-esteem and mood than
activities conducted in green environments without the presence of water (Barton
& Pretty, 2010). Auditory access and perceived or potential tactile access to water
also reportedly reduces stress (Alvarsson et al., 2010; Pheasant et al., 2010).
A space with a good Dynamic & Diffuse Light condition conveys expressions
DYNAMIC & of time and movement to evoke feelings of drama and intrigue, buffered with a
sense of calm.
DIFFUSE LIGHT
Roots of the Pattern
**
Lighting design has long been used to set the mood for a space, and different
Dynamic & Diffuse Light
lighting conditions elicit differing psychological responses. The impact of daylight
leverages varying intensities of on performance, mood and well-being has been studied for many years, in a
light and shadow that change variety of environments, and as a complex field of science and design, light has
been extensively studied and written about.
over time to create conditions
that occur in nature. Early research showed that productivity is higher in well daylighted work places,
sales are higher in daylit stores, and that children performed better in daylighted
classrooms with views – the research focus was on lighting strategy and task
performance and less on human biology. For instance, quality daylighting has
been reported to induce more positive moods and significantly less dental decay
among students attending schools with quality daylight than students attending
schools with average light conditions (Nicklas & Bailey, 1996).
Recent research has focused more heavily on illuminance fluctuation and visual
comfort, human factors and perception of light, and impacts of lighting on the
circadian system functioning.[P6] Sunlight changes color from yellow in the
morning, to blue at midday, and red in the afternoon/evening; the human body
responds to this daylight color transition. The response is apparent in body
temperature, heart rate, and circadian functioning. Higher content of blue light
(similar to skylight) produces serotonin; whereas, an absence of blue light (which
occurs at night) produces melatonin. The balance of serotonin and melatonin can
be linked to sleep quality, mood, alertness, depression, breast cancer and other
health conditions (Kandel et al., 2013).
Relation to other Patterns The objective of the Dynamic & Diffuse Light pattern is twofold: to provide
users with lighting options that stimulate the eye and hold attention in a manner
Common overlaps:
that engenders a positive psychological or physiological response, and to help
[P1] Visual Connection with Nature
[P3] Non-Rhythmic Sensory Stimuli maintain circadian system functioning. The goal should not be to create uniform
[P4] Thermal & Airflow Variability distribution of light through a (boring) space, nor should there be extreme
[P13] Mystery differences (i.e., glare discomfort).
and sometimes also: The human eye and the processing of light and images within the brain are
[P5] Presence of Water adaptable over a broad range of conditions, although there are limitations. For
[P7] Connection with Natural Systems example, when the lighting difference between adjoining sources or surfaces has
[P8] Biomorphic Forms & Patterns a brightness or luminance ratio of greater than forty-to-one, glare may occur,
Diffuse lighting on vertical and ceiling surfaces provides a calm backdrop to the • Direct sunlight
visual scene. Accent lighting and other layering of light sources creates interest and • Diurnal and seasonal light
depth, while task or personalized lighting provides localized flexibility in intensity and • Firelight
direction. These layers help create a pleasing visual environment (Clanton, 2014).
• Moonlight and star light
Movement of light and shadows along a surface can attract our attention. For • Bioluminescence
example, the dappled light under the canopy of an aspen tree, or the reflections
of rippling water on a wall. These patterns tend to be fractals, and the brain is Simulated or Constructed
attuned to moving fractals (see [P10] Complexity & Order). • Multiple low glare electric
light sources
Just as variations in lighted surfaces are important for interpreting surfaces,
• Illuminance
conducting a variety of tasks, and safe navigation, circadian lighting is important
for supporting biological health. Leveraging opportunities for illuminance • Light distribution
fluctuation, light distribution and light color variability that stimulate the human • Ambient diffuse lighting
eye without causing discomfort will improve the quality of the user experience. on walls and ceiling
• Day light preserving
Design considerations for establishing a balance between dynamic and diffused window treatments
lighting conditions:
• Task and personal lighting
• Dynamic lighting conditions can help transition between indoor and
• Accent lighting
outdoor spaces.
• Personal user dimming controls
• Drastically dynamic lighting conditions, such as with sustained
movement, changing colors, direct sunlight penetration and high • Circadian color reference
(white light during the day and
contrasts, may not be appropriate for spaces where directed
lack of blue light at night)
attention activities are performed.
• Color tuning lighting that produces
• Circadian lighting will be especially important in spaces the people white light during the day, and
occupy for extended periods of time. minimizes blue light at night
A prime example of a Dynamic & Diffuse Light condition is at the Yale Center
for British Art, designed by Louis Kahn. Despite the building’s stark exterior, the
diversity of interior spaces and differing orientations of windows, clerestories,
skylights and a large central atrium allows for light to penetrate at variable levels
of diffusion to create an enhanced visitor experience, while upholding indoor
environmental conditions necessary for displaying fine art.
The objective of the Connection with Natural Systems pattern is to heighten both
awareness of natural properties and hopefully environmental stewardship of the
ecosystems within which those properties prevail. The strategy for working with
the pattern may be as simple as identifying key content in a view to nature (e.g.,
deciduous trees in the back yard or blossoming orchids on the window sill), or
it may be a more complex integration of systems, such as by making evident
the relationship between building occupant behavior and rainwater infrastructure
(e.g., raingardens, bioswales, storm sewers) capacity, by regulating domestic
activities (e.g., showering, laundry) during rain events. In either case, the temporal
component is usually the key factor in pattern recognition and the triggering of a
deeper awareness of a functioning ecosystem.
Design considerations and opportunities that may help create quality connections
Relation to other Patterns with natural systems:
Common overlaps: • Integration of rainwater capture and treatment into the landscape
[P1] Visual Connection with Nature design that responds to rain events.
[P2] Non-Visual Connection with Nature
[P3] Non-Rhythmic Sensory Stimuli • In some cases, providing visual access to existing natural systems
[P5] Presence of Water will be the easiest and most cost effective approach. In other
cases, the incorporation of responsive design tactics (e.g., use
and sometimes also: of materials that change form or expand function with exposure to
[P4] Thermal & Airflow Variability solar heat gain, wind, rain/moisture, or shading), structures (e.g.,
[P6] Dynamic & Diffuse Light steps wells), and land formations (e.g., bioswales, arroyos, dunes)
[P13] Mystery
will be necessary to achieve the desired level of awareness.
Simulated or Constructed
• Simulated daylighting systems
that transition with diurnal cycles
• Wildlife habitats (e.g., birdhouse,
honeybee apiary; hedges,
flowering vegetation)
• Exposure of water infrastructure
Above: The greenroof of COOKFOX Architects’ New York office dramatically changes in • Step wells for seasonal rainwater
appearence through the year, visually connecting occupants with the seasons and local storage and social convergence
ecosystem activity. Images courtesy of Bill Browning.
• Natural patina of materials (leather,
Left: Tanner Springs, Portland, Oregon. Atelier Dreiseitl, architect. Image courtesy of stone, copper, bronze, wood)
GreenWorkSpc.
A space with good Biomorphic Forms & Patterns feels interesting and comfortable,
BIOMORPHIC possibly captivating, contemplative or even absorptive.
PATTERNS Biomorphic Forms & Patterns has evolved from research on view preferences
(Joye, 2007), reduced stress due to induced shift in focus, and enhanced
* concentration. We have a visual preference for organic and biomorphic forms
but the science behind why this is the case is not yet formulated. While our brain
Biomorphic Forms & Patterns knows that biomorphic forms and patterns are not living things, we may describe
are symbolic references to them as symbolic representations of life (Vessel, 2012).
contoured, patterned, textured Nature abhors right angles and straight lines; the Golden Angle, which measures
or numerical arrangements approximately 137.5 degrees, is the angle between successive florets in some
that persist in nature. flowers, while curves and angles of 120 degrees are frequently exhibited in other
elements of nature (e.g., Thompson, 1917).
The Fibonacci series (0, 1, 1, 2, 3, 5, 8, 13, 21, 34...) is a numeric sequence that
occurs in many living things, plants especially. Phyllotaxy, or the spacing of plant
leaves, branches and flower petals (so that new growth doesn’t block the sun or rain
from older growth) often follows in the Fibonacci series. Related to the Fibonacci
series is the Golden Mean (or Golden Section), a ratio of 1:1.618 that surfaces time
and again among living forms that grow and unfold in steps or rotations, such as
with the arrangement of seeds in sunflowers or the spiral of seashells.
Biomorphic forms and patterns have been artistically expressed for millennia,
from adorning ancient temples to more modern examples like Hotel Tassel in
Brussels (Victor Horta, 1893) and the structures of Gare do Oriente in Lisbon
(Santiago Calatrava, 1998). More intriguing still is the architectural expression
of mathematical proportions or arrangements that occur in nature, the meaning
of which has been fodder for philosophical prose since Aristotle and Euclid.
Many cultures have used these mathematical relationships in the construction of
buildings and sacred spaces. The Egyptian Pyramids, the Parthenon (447-438
BC), Notre Dame in Paris (beginning in1163), the Taj Mahal in India (1632–1653),
the CN Tower in Toronto (1976), and the Eden Project Education Centre in Corwall,
UK (2000) are all alleged to exhibit the Golden Mean.
Relation to other Patterns The objective of Biomorphic Forms & Patterns is to provide representational
design elements within the built environment that allow users to make connections
Common overlaps:
to nature. The intent is to use biomorphic forms and patterns in a way that creates
[P1] Visual Connection with Nature
[P10] Complexity & Order a more visually preferred environment that enhances cognitive performance while
helping reduce stress.
A space with a good Material Connection with Nature feels rich, warm and
MATERIAL authentic, and sometimes stimulating to the touch.
WITH NATURE While scientific documentation on the health impact of natural materials is limited,
available research is beginning to shed light on opportunities for informed design.
As such, the Material Connection with Nature pattern has evolved from a limited
body of scientific research on physiological responses to variable quantities of
A Material Connection with natural materials, and the impact of natural color palette, particularly the color
Nature is material and green, has on cognitive performance.
elements from nature that, One such study demonstrated that a difference in wood ratio on the walls of an
through minimal processing, interior space led to different physiological responses (Tsunetsugu, Miyazaki &
reflect the local ecology or Sato, 2007). The researchers observed that a room with a moderate ratio of
wood (i.e., 45% coverage), with a more subjective “comfortable” feeling, exhibited
geology to create a distinct significant decreases in diastolic blood pressure and significant increases in pulse
sense of place. rate, whereas a decrease in brain activity was observed in large ratios (i.e., 90%
coverage), which could be either highly restorative in a spa or doctor’s office, or
counterproductive if in a space where high cognitive functionality is expected.
In a series of four experiments examining the effect of the presence of the color
green on the psychological functioning of participants, the results concluded
that exposure to the color green before conducting a task “facilitates creativity
performance, but has no influence on analytical performance” (Lichtenfeld et al.,
2012). Humans are also able to distinguish more variations in the color green than
of any other color (Painter, 2014). However, which variation(s) of the color green
most influence creativity or other mind-body responses is not well understood.
The objective of the Material Connection with Nature pattern is to explore the
characteristics and quantities of natural materials optimal for engendering
positive cognitive or physiological responses. In some cases, there may be
several layers of information in materials that enhance the connection, such as
learned knowledge about the material, familiar textures, or nested fractals that
Relation to other Patterns occur within a stone or wood grain pattern.
Common overlaps: Natural materials can be decorative or functional, and are typically processed
[P1] Visual Connection with Nature
or extensively altered (e.g., wood plank, granite countertop) from their original
[P2] Non-Visual Connection with Nature
‘natural’ state, and while they may be extracted from nature, they are only
[P8] Biomorphic Forms & Patterns
[P10] Complexity & Order analogous of the items in their ‘natural’ state.
A space with good Complexity & Order feels engaging and information-rich, as an
COMPLEXITY intriguing balance between boring and overwhelming.
** The Complexity & Order pattern has evolved from research on fractal geometries
and preferred views; the perceptual and physiological responses to the complexity
Complexity & Order is
of fractals in nature, art and architecture; and the predictability of the occurrence
rich sensory information of design flows and patterns in nature.[P10]
that adheres to a spatial
Research has repeatedly confirmed correlations between fractal geometries in
hierarchy similar to those nature and those in art and architecture (e.g., Joye, 2007; Taylor, 2006), but there
encountered in nature. are opposing opinions about which fractal dimension is optimal for engendering a
positive health response, whether an optimal ratio exists, or if such a ratio is even
important to identify as a design metric or guideline. Nikos Salingaros (2012) has
examined a series of these perspectives with great clarity, noting that the range
of preferred fractal dimensions is potentially quite broad (D=1.3-1.8) depending
on the application.
Nested fractal designs expressed as a third iteration of the base design (i.e.,
with scaling factor of 3, see illustration) are more likely to achieve a level of
complexity that conveys a sense
of order and intrigue, and reduces A square ( ) with
a scaling factor
stress (Salingaros, 2012), a quality
of 3 is more
lost in much of modern architecture, impactful than
which tends to limit complexity to the to a factor of 2.
second iteration, and consequently
results in an arguably dull and
inadequately nurturing form that fails
to stimulate the mind or engender
physiological stress reduction. (3) (2) (1)
At either end of the spectrum, both non-fractal artwork and high-dimensional fractal
artwork have been shown to induce stress (Hägerhäll et al., 2008; Taylor, 2006).
Overly complex designs and environments may result in psychological stress and
even nausea. According to Judith Heerwagen and Roger Ulrich, occupants in a US
Navy office in Mississippi reported nausea, headaches and dizziness, symptoms
frequently associated with poor indoor air quality or poor ventilation. It was
Relation to other Patterns determined that the interaction of multiple wall paper patterns, complex patterns
in carpets and moiré patterns in seating fabrics caused surfaces to appear to
Common overlaps:
move as occupants walked through the space and therefore caused extreme
[P1] Visual Connection with Nature
[P2] Non-Visual Connection with Nature visual perception problems (Heerwagen, personal communication, March 2014).
[P8] Biomorphic Forms & Patterns
[P9] Material Connection with Nature
Fractal patterns can be identified in classical art and vernacular architecture from
the column capitals of ancient Greece and Egypt, the art of Ancient Mayans,
A familiar challenge in the built environment is in identifying the balance between • Exposed mechanical systems
an information rich environment that is interesting and restorative, and one • Façade materials
with an information surplus that is overwhelming and stressful. Targeting an • Façade, spandrel and window
optimal dimensional ratio for design applications can be problematic (i.e., time hierarchy
consuming, inconsistent and even inaccurate), of questionable long-term value,
• Building skyline
and essentially less important than the incorporation of third-iteration fractal
designs. As Salingaros (2012) points out, identifying precise fractal geometries in • Floor plan, landscape plan,
existing naturescapes, structures and artworks is a challenge, whereas generating urban grid
new works with complex fractals is quite easy, so specifying fractal artwork, for • Pedestrian and traffic flows
instance, may not always be the most efficient use of project resources. • Resource flows
Design considerations that may help create a quality Complexity & Order condition:
• Prioritize artwork and material selection, architectural expressions,
and landscape and master planning schemes that reveal fractal
geometries and hierarchies.
• Fractal structures with iterations of three will be more impactful
than a design limited to two iterations.
• Computer technology using the algorithms of mathematical and
geometric functions can produce fractal designs for architectural,
design and planning applications with ease. If a fractal design
is being created, consider using geometries with a mid-range
dimensional ratio (broadly speaking, D=1.3-1.75).
• Over-use of and/or extended exposure to high-fractal dimensions
could instill discomfort or even fear, countering the intended response:
to nourish and reduce stress. Avoidance or under-utilization of fractals
in design could result in complete predictability and disinterest.
• A new building or landscape design should take into account its
impact on the fractal quality of the existing urban skyline.
A space with a good Prospect condition feels open and freeing, yet imparts a
PROSPECT sense of safety and control, particularly when alone or in unfamiliar environments.
Distant prospect (>100 feet, >30 meters) is preferred over shorter focal lengths
(<20 feet, 6 meter) because it provides a greater sense of awareness and
comfort (Herzog & Bryce, 2007), reducing one’s stress responses, particularly
when alone or in unfamiliar environments (Petherick, 2000). Good Prospect is
extensive and information rich, with a savanna-like view.
The objective of the Prospect pattern is to provide users with a condition suitable
for visually surveying and contemplating the surrounding environment for both
opportunity and hazard. In landscapes, Prospect is characterized as the view
Relation to other Patterns from an elevated position or across an expanse. While an elevated position can
enhance (indoor and outdoor) prospect, it is not essential to creating a quality
Complementary patterns:
Prospect experience.
[P1] Visual Connection with Nature
[P5] Presence of Water There are potentially endless combinations for applying characteristics of prospect
[P12] Refuge
(Dosen & Ostwald, 2013). There is interior prospect, exterior prospect, as well as
[P13] Mystery
[P14] Risk/Peril short depth and high depth prospect that can occur simultaneously. The complexity
and variety of ways to achieve prospect is what makes it such a powerful design
The central courtyard of the Salk Institute for Biological Studies in California,
designed by Louis Kahn, is a popular example of a nearly pure Prospect
condition. This elevated space is bounded by the angled fins of the adjacent
researcher offices, and has a rill flowing through the center out towards the view
of the Pacific Ocean. There are some small trees in planters at the entry of the
courtyard, but once in the space one’s gaze is drawn outward through the space.
A space with a good Refuge condition feels safe, providing a sense of retreat
REFUGE and withdrawal – for work, protection, rest or healing – whether alone or in small
groups. A good Refuge space feels separate or unique from its surrounding
*** environment; its spatial characteristics can feel contemplative, embracing and
protective, without unnecessarily disengaging.
Refuge is a place for
withdrawal, from environmental
Roots of the Pattern
conditions or the main flow
of activity, in which the The Refuge pattern has evolved from research on visual preference research and
spatial habitat responses, and its relationship to [P11] Prospect conditions. Refuge
individual is protected from conditions are important for restoration experiences and stress reduction, which
behind and overhead. can be realized through lowered blood pressure and heart rate. Other benefits
of Refuge are suggested to include reduced irritation, fatigue and perceived
vulnerability, as well as improved concentration, attention and perception of
safety (Grahn & Stigsdotter, 2010; Wang & Taylor, 2006; Petherick, 2000; Ulrich
et al., 1993).
Jay Appleton’s writing (1977, 1996) is focused on theory and is a good overall
reference for both Prospect and Refuge, whereas Grant Hildebrand (1991) has
written the most intelligently about Prospect and Refuge in the built environment
and is a good reference for applications. In Hildebrand’s words, “The edge of
a wood is one of the most prevalent of natural prospect-refuge conjunctions”
for it provides protection from weather and predators, but allows for outward
surveillance. Nonetheless, the health response to Refuge is reportedly stronger
than the response to Prospect, and the compounded response is enhanced when
the two spatial conditions converge (Grahn & Stigsdotter, 2010).
In small urban parks, park size is less important than the ability to be immersed
in the space with the conditions of enclosure leading to restoration (e.g., Nordh,
Hartig, Hägerhäll & Fry, 2009). In larger parks, the refuge spaces under trees,
and in vegetation bordering an open space or meadow, are the preferred
locations (e.g., Ruddell & Hammitt, 1987). Though science has yet to establish
metrics for frequency or duration of access to refuge conditions, the balance
between Refuge and Prospect is suggested to be more important than the size
or frequency of the experience (Appleton, 1996).
• Indoor refuge spaces are usually characterized by lowered ceiling • Spaces reserved for reflection,
meditation, rest, relaxation,
conditions. For spaces with standard ceiling heights, this may
reading, or complex cognitive
equate to approximately 18-24 inches below the main ceiling, and tasks
is often achieved through treatments like a soffit, a drop-ceiling or
acoustical paneling, or suspended fabric. • Operable, adjustable or translucent
(or semi-opaque) shades, blinds,
• For outdoor or indoor spaces with particularly high ceilings (>14 screens or partitions
feet), a more drastic differential may be necessary to achieve • Drop or lowered ceiling or soffit,
the desired outcome; freestanding or vegetative alcoves and overhang or canopy
mezzanine-like structures are often effective.
• Lowered or varied light color,
• When designing for larger populations or multiple activity types, temperature or brightness
providing more than one kind of refuge space can address varying
needs, which can often be met through differing spatial dimensions,
lighting conditions, and degree of concealment.
• Light levels in refuge spaces should differ from adjacent spaces and
user lighting controls will broaden functionality as a refuge space.
Sitting with one’s back against the trunk of a big shade tree is a classic refuge
space, as is high backed booth seating in a restaurant, a reading nook in a library
or school, a covered bus stop, or a wraparound porch. Treehouses are a timeless
example of Refuge; and Cliff Palace in Mesa Verde, Colorado (constructed pre-
A.D.1200s) is one of the best historic examples. While the settlement provides
a feeling of containment and protection from the arid climate and potential
predators or enemies, the refuge experience is enhanced with characteristics of
Prospect through its elevated position and views over the canyon.
A quality mystery condition does not engender a fear response; the conditions
that differentiate between surprise (i.e., fear) and pleasure center around the
visual depth of field. An obscured view with a shallow depth of field has shown to
lead to unpleasant surprises, whereas greater visual access, with a medium (≥20
ft) to high (≥100 ft) depth of field is preferred (Herzog and Bryce, 2007).
A good mystery condition could also be expressed through the obscuring of the
boundaries and a portion of the focal subject (i.e., room, building, outdoor space,
or other information source), thereby enticing the user to anticipate the full extent
of the subject and explore the space further (Ikemi, 2005).
A space with a good Risk/Peril condition feels exhilarating, and with an implied
risk/peril threat, maybe even a little mischievous or perverse. One feels that it might be
dangerous, but intriguing, worth exploring and possibly even irresistible.
*
Risk/Peril is an identifiable Roots of the Pattern
threat coupled with a Risk can be generated by a learned or biophobic response triggered by a near
reliable safeguard. and present danger. This danger, however, is inert and unable to cause harm due
to a trusted element of safety. The defining difference between Risk/Peril and fear
is the level of perceived threat and perceived control (Rapee, 1997).
The objective of the Risk/Peril pattern is to arouse attention and curiosity, and
refresh memory and problem solving skills. There are different degrees of risk that
can be incorporated into a design depending on the intended user or the space
available; a cantilevered walkway over a sheer cliff is an extreme case; viewing a
predator in a zoo exhibit may provide a greater sense of control; whereas, rock-
hopping through a gentle water feature presents the risk of getting one’s feet wet.
We hope “14 Patterns of Biophilic Design” helps shed light on the importance
growth can of the human connections with nature in our built environment. We encourage
people to challenge convention by bringing biophilic design patterns into a vision
be supported. for healthy homes, workplaces and cities.
Knowing its
basic patterns
early on will
speed up the
language’s
development,
and guide it
in the right
direction.” Fallingwater by Frank Lloyd Wright, Bear Run, PA. Image © Brandon Sargent/Flickr.
[p1] Stress recovery from visual connections with quantified behavioral measures of attention and
nature have reportedly been realized through exploration (Windhager et al., 2011).
lowered blood pressure and heart rate (Brown,
Barton & Gladwell, 2013; van den Berg, Hartig,
& Staats, 2007; Tsunetsugu & Miyazaki, 2005); [p4a] The Thermal & Airflow Variability pattern has
reduced attentional fatigue, sadness, anger, evolved from research measuring the effects of
and aggression; improved mental engagement/ natural ventilation, its resulting thermal variability,
attentiveness (Biederman & Vessel, 2006), attitude and worker comfort, well-being and productivity
and overall happiness (Barton & Pretty, 2010). (Heerwagen, 2006; Tham & Willem, 2005; Wigö,
2005), physiology and perception of temporal and
There is also evidence for stress reduction related spatial alliesthesia (pleasure) (Parkinson, de Dear
to both experiencing real nature and seeing & Candido, 2012; Zhang, Arens, Huizenga & Han,
images of nature (e.g., Grahn & Stigsdotter, 2010; Arens, Zhang & Huizenga, 2006; Zhang,
2010; Leather et al., 1998; Bloomer, 2008; Kahn, 2003; de Dear & Brager, 2002; Heschong, 1979),
Friedman, Gill et al., 2008; Hartig et al., 2003), Attention Restoration Theory and impact of nature
that natural environments are generally preferred in motion on concentration (Hartig et al., 2003;
over built environments (e.g., van den Berg, Koole Hartig et al., 1991; R. Kaplan & Kaplan, 1989) and,
& van der Wulp, 2003; Hartig, 1993; R. Kaplan generally speaking, a growing discontent with the
& Kaplan, 1989; Knopf, 1987; Ulrich, 1983). conventional approach to thermal design, which
focuses on trying to achieve a narrow target area of
Visual access to biodiversity is reportedly more temperature, humidity and air flow while minimizing
beneficial to our psychological health than access to variability (e.g., de Dear, Brager & Cooper, 1997).
land area (i.e., quantity of land) (Fuller, Irvine, Devine-
Wright et al., 2007). [p4b] Heerwagen (2006) explained that evidence has
shown that people like moderate levels of sensory
[p2] The Non-Visual Connection with Nature pattern is variability in the environment, including variation
derived from data on reductions in systolic blood in light, sound and temperatures, (e.g., Elzeyadi,
pressure and stress hormones (Park, Tsunetsugu, 2012; Humphrey, 1980; Platt, 1961), and that
Kasetani et al., 2009; Hartig, Evans, Jamner et an environment devoid of sensory stimulation and
al., 2003; Orsega-Smith, Mowen, Payne et al., variability can lead to boredom and passivity (e.g.,
2004; Ulrich, Simons, Losito et al., 1991), impact Schooler, 1984; Cooper, 1968).
of sound and vibration on cognitive performance
(Mehta, Zhu & Cheema, 2012; Ljungberg, Neely, & [p5] The Presence of Water pattern has evolved from
Lundström, 2004), and perceived improvements in research on visual preference for and positive
mental health and tranquility as a result of non-visual emotional responses to environments containing water
sensory interactions with non-threatening nature (Li, elements (Windhager, 2011; Barton & Pretty, 2010;
Kobayashi, Inagaki et al., 2012; Jahncke, et al., White, Smith, Humphryes et al., 2010; Karmanov &
2011; Tsunetsugu, Park, & Miyazaki, 2010; Kim, Hamel, 2008; Biederman & Vessel, 2006;Heerwagen
Ren, & Fielding, 2007; Stigsdotter & Grahn, 2003). & Orians, 1993; Ruso & Atzwanger, 2003; Ulrich,
1983); reduced stress, increased feelings of tranquility,
[p3] The Non-Rhythmic Sensory Stimuli pattern has lower heart rate and blood pressure, and recovered
evolved from research on looking behavior skin conductance from exposure to water features
(particularly periphery vision movement reflexes); (Alvarsson, Wiens, & Nilsson, 2010; Pheasant, Fisher,
eye lens focal relaxation patterns (Lewis, 2012; Watts et al., 2010; Biederman & Vessel, 2006);
Vessel, 2012); heart rate, systolic blood pressure improved concentration and memory restoration
and sympathetic nervous system activity (Li, 2009; induced by complex, naturally fluctuating visual stimuli
Park et al, 2008; Kahn et al., 2008; Beauchamp, (Alvarsson et al., 2010; Biederman & Vessel, 2006);
et al., 2003; Ulrich et al., 1991); and observed and and enhanced perception and psychological and
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